예상우의무가의 바라문과 인도의 라가

Abstract

This article examines the influence of Indian music on Chinese music by examining the baramun in nishangyuyiwuge, which was created by Xuanzong of Tang dynasty. This nishangyuyiwuge is taqu form of Chinese music, and Indian raga form is close to taqu form. This paper compares the dance patterns described in Baijuyi's nishangyuyiwuge with the Raga style of Indian music to find out the Baramun. Baijuyi's nishangyuyiwu form is consists of Sanseo, zhongseo and Pa, indicating that it consisted of vocal with free rhythm, instrumental with medium tempo, and rapid dance music. Indian raga is very close to this taqu form of China. According to Natya sastra in India, the rhythmic pattern of Raga's tala is differentiated at three beats and speeds. The Capaputa tala has three kinds of tempo and speed: 6 beats, 12 beats, and 32 beats. Six beats is a fast druta, twelve beats is a moderate speed madyama, and 24 beats is a slow speed villambita. There are three rhythmic tempos and speeds in banshi of Chinese music, the slow one is called manban (4/4). The medium speed is called the zhongban (2/4). The fast one is called a yuanban (1/4). Bansik is doubled the original melody to create a slow variation, and the new variation is performed in front of the theme. When making a new variation again, the beats are doubled, and if it is played slower, the variation is performed in front of the previous variation. As such, nishangyuyiwu was a product of the fusion of Central Asian folk music influenced by Indian music and Chinese royal music and was the acceptance of folk art in the Chinese palace. The Tang Dynasty was very open-minded in accepting foreign cultures, and as a result of this open policy, it was able to improve the level of music and culture of the Tang Dynasty. I think it is still valid today that culture develops when it is merged with new culture with such an open policy on foreign culture.